Enheduanna Analysis

This supports our hypothesis that the amplitude being adjusted doesn't effect the rate at which it swings. Now we move on to our question: Would mass be a factor? The first bob was replaced with something much smaller in weight. We returned the displacement back to 10 cms while keeping the length the same. We recorded the 10 periods and the average seems to be around the same approximate rate of 2.01. This debunks the theory of the pendulum being dependent on mass. Changing both the displacement and weight seems to not affect the rate in anyway.

A Khan Academy Documentary by Beth Harris shows a headdress worn by Tiye that included horns solar disk, referring to the religion Atenism which is monotheistic and regal promoting the god Aten. Horns and Feathers on headdress also related to the goddess Hathor.

“Akhenaton, Nefertiti, and Three Daughters,” is from the Amarna period in 18th dynasty ancient Egypt, which was around c. 1353-1335 BCE. This was a time where art in ancient Egypt was vastly different from anything that had come before it, mostly due to Akhenaton himself. The religion of the time was also very different, as it had become a monotheistic religion instead of a polytheistic one, where everyone now worships the life giving god Aton, represented here by the sun who is soaking them in life-giving rays and the ankh placed on the sun representing Aton. Pictured in this work is the Pharaoh Akhenaton and his family, yet it is not the stiff ceremonial

The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).

Her face is empty and has no meaning because it is what women was for at that time. The face of women was not important to keep the family line or the clan strong. Men wanted women who had more female features which they think can make their children healthy and strong. So then, the women’s body on the statue shows bigger breast and hips because that

She is placating the Egyptian king with stories of how she wishes to honor the passing of Menelaos.  She is portraying the qualities most commonly considered to be agathos in a female.  She is

This first act as king brought with him a shocking speculation and hostility between his throne and the priesthood of Amun. Inside the temple was an entirely new style of art, which was often described, as “naturalistic” in Akhenaten’s portrayal of the human body. No longer was the Pharaoh portrayed as half animal with the perfect body fitted for the afterlife. Akhenaten and the royal family were shown with long toes, massive hips, extremely long fingers, skinny torso, ample breasts, big buttocks, and an elongated face. This exaggeration of the royal family’s bodies altered classic Egyptian art and became better known as Amarna Art.

It has been speculated that the woman that the portrait depicts was in fact a vestal virgin, however one particular feature seems to dispute this theory. Vestal virgins were typically shown with an infula, a frontlet or headband, around the hairline just above the forehead. While from the frontal angle the portrait appears to have a similar band, closer observation shows that the woman's hair has been braided and wrapped around the forehead in similar style, and that the veil she wears appears merely to be of the style generally shown in funerary monuments. All other representations of vestal virgins we have studied generally have a very apparent infula, so in this case it seems that while the features may appear similar, the fuller veil and knotted hairstyle of the portrait, lean more toward matron than vestal virgin (Johansen 246-7).

The physical appearance of Erato makes her unique and important to Greek Mythology. First, Erato wears a crown made up of White flowers and roses. The roses she wears shows her romantic side as a muse for love poetry. This crown also shows her status as a higher power. Second, Erato carries a lyre, a musical instrument which is comparable to a small harp.

The relationship between gods and humanity in Atrahisis: The Account of The Great Flood seems to carry great irresponsibility. Most of the gods display the weak characteristics of humans. They whine about work, constantly complain, selfishly create humans and then wish them dead. Enki and Atrahasis, two of the main characters in the flood story (one god and one human), gain a mutual respect that displays the proper relationship between humans and the divine. A relationship of prayerful ‘calling out’ to the gods, followed by a merciful response toward humankind, is the healthy and correct picture this story shows us. A correct relationship between gods and humans carries the possibility of eternal life

Well-connected is the adjective that describes Demeter, “the divine sorrowing mother”(63). Demeter acts more humanely than the rest of the gods in Olympus. Because she did not have her daughter, she mourned stubbornly for Persephone. She is different in the way that she relates to humans because she knows sorrow and pain. This is what makes her unique, she’s “apart from the gods in Olympus,” who only know joy(61). This opens a new world for her, she can have empathy towards humans, not just sympathy. Demeter “was sorry” for causing the humans to hunger, as without her no harvests could be successful(63). The emotions that are not joyful are what connects her to the mortal humans, an immortal can feel what a human

The Snake Goddess, a voluptuous, divine figure with bare breasts, and snakes in both hands, is one of the most well known female deity’s and faïence figurines in Minoan culture (Patron). The actual representation of the Snake Goddess is unknown; however, a majority of perceptions would all agree that the Snake Goddess is an important female deity in Minoan civilization. By analyzing the importance of symbolism, the role of women in Minoan civilization and The Snake Goddesses role in Minoan culture, it will become evident that The Snake Goddess plays a significant role in Minoan art, religion and society (Witcombe).

When it snorted a third time, the earth cracked open and Enkidu fell in, up to his waist, he jumped out and grabbed the Bull’s horns, it spat its slobber into his face, it lifted its tail and spewed dung all over him” (Mitchell 137). The mass destruction caused by Ishtar demonstrates that her power is greater than the warriors’ and equal or greater than that of one of the strongest men of the story. Using the Bull of Heaven, Ishtar nearly defeats Enkidu, who is the equal of Gilgamesh, both described as large and strong men, a phallic symbol of power. Although Ishtar does not kill Gilgamesh with the Bull of Heaven, Enkidu is spat on and covered in dung, which is very humiliating, and as Gilgamesh’s equal, this action is equivalent to humiliating Gilgamesh. For a woman to humiliate the greatest phallic symbols in the epic demonstrates that the women of “Gilgamesh” are not the weaker gender.

In the epic of gilgamesh, Gilgamesh is a man and a God. He built high walls and had orchid fields around his city. He also wasn’t respectful. He touched women whenever he wanted to, He never gave his servants any type of love. Enkidu is a man who was created to tame gilgamesh. He was created by the Gods. The Gods wanted to tame him so they sent an equal power which was enkidu. A wild man who becomes Gilgamesh 's best friend. After being visited by Shamhat, the prostitute, Enkidu is civilized and leaves the animal world behind to journey with Shamhat to Uruk. Enkidu accompanies Gilgamesh to defeat Humbaba before he passes away. Gilgamesh journeys to the Underworld to try to bring

The subject of the artwork is Nefertiti, who was the wife of Akhenaten. In addition to being a wife, Nefertiti was also a queen of Egypt. Nefertiti is posed in a very graceful stance. She looks very calm and put together. Due to the curvature of the very elongated neck, the Bust of Nefertiti is poised into a relaxed pose, while maintaining her eternal beauty at the same time. These features are also noticeable when moving the focus towards the eyes, which are slightly closed enough to see her eyelids in addition to her actual eyes. Her eyes are composed into a very natural state; they aren’t widened as if they are portraying a specific facial expression. Her entire face has a peaceful and very naturalistic look. Although often times portraits in Egypt were made to be exaggerated and never depicted what the person actually looked like, this piece